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Silver Lining and a Pandemic Semester
Have a safe spring break, I said to my photo students at Furman University on a Wednesday in early March 2020. Then I said something like, Please don't bring that virus back into our classroom when you return, at which point most of us chuckled because it seemed so farfetched, even to me. One week later, I began to plan for my black and white film/darkroom class and digital photography to go online due to the Coronavirus; my students weren't returning to campus.
Saving Orangutans
Indonesia's Sumatran orangutan is under severe threat from the incessant and ongoing depletion and fragmentation of the rainforest. As palm oil and rubber plantations, logging, road construction, mining, hunting and other development continue to proliferate, orangutans are being forced out of their natural rainforest habitat.
A Tribute: Jose Zurita  January 18, 1981 - June 19, 2020
Jose Zurita was a photographer's photographer - he was more interested in making images than exhibiting his work or the attention that comes with publication. Originally from Bolivia, he settled in Greenville, SC, where he worked as a Rehabilitation Specialist for adults living with mental illness. Most days, when Jose left his job at 5 PM, he directly hit the streets with his camera making portraits of strangers he encountered along his path – poignant images of underserved populations. That's how Jose was – someone who wanted to validate others that frequently go unnoticed.
The women of Rebibbia. Walls of stories
The common imagery of the prison life is fed by the photographic and cinematic depiction that nearly always represents the male population. In the era of the #MeToo movement and of a resurgence of the female voice I have decided to investigate what incarceration is like for a woman: the maternity, the relationship with family and partners, the harsh condition with other cell-mates of different countries and cultures
Earth prints: feel the power of the Earth
Photography is a powerful visual art medium. It can convey emotions, sensations, deep perception of the moment. Now, imagine that the photo is made from the air and shows an absolutely breathtaking view? Wouldn't it inspire and energize even more? Breathtaking, inspiring and energizing - that is exactly how our planet looks from above! And that is the kind of aerial images I look for, when I am on my photo trips.
Who will save the Rohingyas?
The Rohingya Muslim minority of Myanmar, who are subjected to discrimination and human rights violations and have been stripped of all rights including citizenship, are now living in IDP or internally displaced person camps.
Award-winning Canon photographers capture Ramadan in the time of a pandemic
To capture this religious practice taking place under lockdown, Canon has partnered with Jordanian Canon Ambassador and two time Pulitzer prize winner, Muhammed Muheisen and Dubai-based photographer Reem Falaknaz
Upside Down by Lorenzo Biffoli
This photographic project has been inspired by the events that followed the rapid spreading of the COVID-19 among the Italian population, which started at the end of February 2020.
A world without latitude and longitude
In a place called White Sands, New Mexico, you can get lost in no time on a cloudy, windy summer day as your footsteps are erased nearly as quickly as your bare feet make them. With no sun to guide you, it's like being on another planet. The pull of places like that might be the same as the emotional grip that the tip of Mt. Everest has on champion climbers, or in the photographs of Ivan Murzin, the magnetic pull of a national park in Siberia where multitudes flock in winter to tempt gravity off the surface of an infinite tabletop of ice.
On The Front Line
I remember the first time I looked at the works of street photographers like as Bruce Gilden, Martin Parr and Nick Turpin and strangely remembered how images under this documentary style of photography drew me further into this artform, making me appreciate a photograph as something more than an object in a frame, but rather an expression of an individual in that moment of time. In the coming years I focused solely on documentary photography and gradually became more fascinated about the relationships between the photographer and his subjects. To this day Bruce Gilden's work is central to my photographic practice, not so much in viewing his images as final pieces but rather in the process of capturing them. I'd like to believe that he himself is far more concerned with staying in those moments of pure photographic expression, with the images being only an intervention in time.
What impact has the Coronavirus Pandemic on Photographers?
As the coronavirus (Covid-19) pandemic continues to cause major disruptions to our daily lives with more than two billion people worldwide isolated in their homes, we asked renowned photographers what impact the current situation has on their life and work. Here are their personal and heartfelt answers as well as a sample of their work.
Garden of Delights by Maureen Ruddy Burkhart
As artists, we expend a lot of our emotional energy and other resources into building our resumes, seeking relationships with peers and influentials, and working on series and portfolios.
Corona Walks & PRESENT AT HOME
Belgium is currently in lock down. We can only go outside to get food and some people are allowed to go to their work. We can go outside for a walk and once a day around 6:30 pm, Stephan Vanfleteren leaves with his camera to the sea, forest, fields... He named his walks: Corona walks.
Natalie Obermaier
Natalie Obermaier's gaze is honest and sympathetic. Absent of pretense, shyness, or posturing, nothing comes between Obermaier and her subjects. Every image expresses the subtle context of his unfettered access. When they gaze directly into the camera, her subjects seem to be looking directly at us. The conjecture of photography is shaped with contradictions... ambiguously-specific, empowered-vulnerability, truthfully-inaccurate. The nuances of these paradoxes are burned into the silver halide crystals of Obermaier's film.
Exclusive Interview with Stephan Gladieu
Stephan Gladieu's career began in 1989 covering war & social issues, traveling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). His work began as travel features, but he became increasingly interested in using portraiture to illustrate the human condition around the world. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over.
Photography and Climate Change Awareness - Part 1
Global climate change is real and has observable effects on the environment. It affects all regions of the world. The polar ice caps are melting and the level of the oceans is rising. In some regions, extreme weather events and precipitation are becoming more frequent, while others are facing increasingly extreme heat waves and droughts. Many plants and animal species are endangered. Some terrestrial, freshwater and marine species have already moved to new territories. Plants and animals will be in serious danger of extinction if the average temperature of the planet continues to rise uncontrollably.
Photography and Climate Change Awareness - Part 2
Global climate change is real and has observable effects on the environment. It affects all regions of the world. The polar ice caps are melting and the level of the oceans is rising. In some regions, extreme weather events and precipitation are becoming more frequent, while others are facing increasingly extreme heat waves and droughts. Many plants and animal species are endangered. Some terrestrial, freshwater and marine species have already moved to new territories. Plants and animals will be in serious danger of extinction if the average temperature of the planet continues to rise uncontrollably.
City of protest by Filippo Mutani, Hong Kong, 2020
Extradition bill gave birth to a new Hong Kong political awakening. It is powerful, resilient, and it seems here to stay. It is a leaderless movement, fighting for democracy and against Chinese mainland-style authoritarian rule spilling into Hong Kong.
Shane Balkowitsch makes portraits of 2019 Nobel Peace Prize nominee Greta Thunberg
On Tuesday, October 8, North Dakotan wet plate collodion artist Shane Balkowitsch had the chance to make several portraits of Swedish environmental activist and 2019 Nobel Peace Prize nominee Greta Thunberg during her visit to North Dakota in support of indigenous groups fighting Dakota Access oil pipeline. Many in the Standing Rock tribe consider the pipeline a threat to the region's clean water and to ancient burial grounds. The shoot took place at Standing Rock, ND where Thunberg was being honored by tribal leaders for her work to fight climate change. During the closing ceremony, Thunberg was bestowed with a Lakota Native American name "Maphiyata echiyatan his win" which translates as "woman who came from the heavens."
Saint Louis in Senegal by Thierry Clech
It's really strange to return to a city that I first knew at half of the age I am today. We are afraid to find it unchanged, intact, which, by contrast, would accentuate the awareness of one's own aging. But we are equally afraid of no longer recognizing it, which would mean that time has erased our memories, which we will not find traces anywhere. Returning to Saint Louis in Senegal, 26 years after going there for the first time, I felt threatened by these two perils.
The Christians of Jerusalem by Ofir Barak
The christian religion had a flock of 2.19 billion believers at the year of 2010. 14 thousands of them (0.0005% of the world population) were living around the area of Jerusalem during that time. The city of Jerusalem is known to share a pivotal point in each story of the three monotheistic religions - Judaism, Christianity and Islam. Over the course of thousands of years, Jews, Christians, and Muslims look up to Jerusalem as it has been dedicated to each of these three religions. Each religion by its believers share with the city an unbreakable bond that was kept for thousands of years.
Emily Garthwaite: A Universal Photojournalist
Emily Garthwaite has achieved what most of us could only dream of. At age 26, she has gained global recognition for her innovative photojournalism, having been twice named a finalist in the Wildlife Photographer of the Year award. Outside of the industry, she has featured on Forbes 30 Under 30 list, which identifies leading international creatives from across the globe.
Paula Riff: Blue is not the sky
I first met Paula Riff in 2015 at the Medium Festival of Photography in San Diego. Her mother had just died or maybe I'm making that up because my brother had recently died, but she had a number of photographs, straight photographs (well, as straight as hand-colored gelatin silver prints can be), and then she had a small box of cyanotypes and she said, "Well, I wasn't going to show these..." Which, of course, meant I had to see them. They were small enough to fit in my hand and they at first looked like constellations against a deep blue sky...and then I thought, no...dust...and then Paula said, no...ashes...and bones. Her mother's ashes and bone fragments from when she was cremated. Wow. Just when I thought I couldn't be surprised anymore at a portfolio review, there I was. And speechless too. And more than a little impressed.
All American by Margo Davis
In 2002 I began photographing New Yorkers of mixed heritage. Since my own children and many members of my family are of mixed heritage I was drawn to mixed ethnicities as a subject for my photographs. It is this portfolio that morphed into the series ALL AMERICAN, some of which are published here. I widened my interest from mixed heritage people to all immigrants to New York who had come from cultures worldwide and adopted New York and America as their home.
Will Burrard-Lucas: The last images of the Elephant Queen
British wildlife photographer, Will Burrard-Lucas, in partnership with Tsavo Trust and Kenya Wildlife Service, has photographed a remarkable female elephant in Kenya. Her tusks were so long that they scraped the ground in front of her as she walked. If there were a Queen of Elephants, it would surely have been her. These are amongst the last images ever captured of her, for shortly after they were taken, she died of natural causes.
Faces of Addiction Opens Viewers’ Hearts
Faces of Addiction is a photography-based art project which presents addicted people as real individuals - just like you or me. Only then does compassion become a possibility. Accordingly, the work has to be accessible and to be most effective, it will need to be experienced by many thousands of people.
Testimonial: Norma I. Quintana
On the night of October 8th, 2017, at 11:00pm, I received a call from a friend who told us that she could see a wildfire spreading on the hills behind our house. Unaware that we were in harm's way, my husband and I walked up to a fire road behind our home and saw a bright glow in the distance.
Fábio Miguel Roque: Silence and Desassossego
My path in photography began some time ago, and went through the most varied challenges, from the search of my own (photographic) identity to the perception of how that same identity could be used in concrete and realistic terms
Art Shay: The Fountain of Evocation!
At a time when many a photographer's reliance on equipment and software is incessant and endemic, Art Shay maintained his curmudgeonly simplicity, as if saying "fuck you!" by toting around a rangefinder Leica
The Playground Series: Francisco Diaz & Deb Young
The International Collaboration Project founded by Francisco Diaz (USA) and Deb Young (New Zealand) bring global artists together in a virtual collaboration in the photographic medium.
Guillaume Robin: Along the Mekong
I receive a lot of portfolios throughout the year at All About Photo. Most of the time, I put them aside, overwhelmed by the quantity of things to do, hoping I will be able to take the time later in the day or the week to give a proper answer to each project.
Evan Bedford: Cuba
It's my favorite time of year...no, not the holidays, but Critical Mass. And no, that's not a massive bike ride where some of the people are riding naked, even in San Francisco in the wet fog.
Shannon Johnstone: Stardust and Ashes
I first saw Shannon Johnstone's photographs when I was jurying PhotoLucida's Critical Mass back in 2010. RayKo Photo Center happened to be hosting the traveling Critical Mass Top 50 exhibition and it was a year in which the images ranged from triumphant to beautiful to majestic to heartbreaking to challenging.
JP Terlizzi: Los Angeles Center for Photography
When I was jurying The Creative Portrait show for the Los Angeles Center for Photography a few weeks ago, I saw the picture of a woman's black and white portrait being sewn with a thick red yarn.
Kent Krugh: Speciation
I reviewed Krugh's latest portfolio at PhotoLucida this year and here were objects and images that piqued my curiosity. Here were all my favorite cameras (and some I'd never heard of) captured with x-rays.
Aaron Hardin: The 13th Spring
In the spring of my junior year of college, I took a course called, "Southern Contemporary Fiction." Haunting works by William Faulkner, Eudora Welty, Thomas Wolfe, Tennessee Williams, Peter Taylor, Pinckney Benedict...there were others, of course, but perhaps most important to mention here is Flannery O'Connor.
Norm Diamond What Is Left Behind: Stories From Estate Sales
I first met Norm Diamond at the PhotoLucida portfolio reviews in Portland, Oregon, in 2015. He had a number of prints of beautiful still lifes and interiors, the color palette perfect, the spaces familiar, the objects loved and worn.
Argus Paul Estabrook: Losing Face
While jurying PhotoLucida's Critical Mass, I found some images that had the energy of Ernst Haas' photographs of motion, but these weren't color and they weren't bull fights or galloping horses.
Takayuki Narita: Rose Garden
Takayuki Narita's project, "Rose Garden," at first reminded me of Martin Parr's "Last Resort" for a moment in the way he used the flash in the sun, but here these people are not clad in bathing suits or waiting in ice cream parlors or clamoring across rocky beaches.
Nicolò Sertorio: (DIS)CONNECTED
Nicolò Sertorio in his portfolio 'DisConnected' explores different aspects of landscapes in a counterpoint of bridging the gap between opposites in our life. 'DisConnected' is Sertorio's fine art photography that reached the conceptual level of the essential idea of Sartrean Existentialism and philosophical principles of the New Escapism of contemporary art.
Dotan Saguy: Venice Beach Culture
When I lived in Maine and I would travel the 3,000+ miles to Los Angeles, I would often head straight to Venice Beach from the airport. It seemed like such a foreign place compared to the rocky, deep harbored coastline where there was literally no one on the cliffs but me (and maybe Paul Caponigro catching some fleeting rays if the weather was warm enough).
Jamie Johnson: Irish Travellers
I don't usually find myself drawn to pictures of children. Actually, it's become a bit of tendency when I'm jurying or critiquing and I see those photographs, I almost involuntarily announce, "No cute kids." (Kids that aren't adorable are OK. Give me Diane Arbus' grenade boy anytime. Or a host of other images of fierce or far out youngsters.)
Julie Renée Jones: Umbra
Sometimes I forget, when I'm looking through thousands of images, why I love photography and what attracted me to it in the first place. The light. It's the photographer's basic tool and yet I think often image-makers forget that this is what creates the mood and the tone of the picture.
Maureen Drennan Meet Me in the Green Glen, Island Kingdom and the sea that surrounds us
I first met Maureen Drennan at Review Santa Fe in 2010. She had a secret project about a pot farm back when marijuana was illegal in California and was an even more taboo subject.
Simon Martin: Cadets
While looking through the nearly 800 portfolio submissions for Aint-Bad Magazine's curator's issue, I discovered British photographer Simon Martin's images of young cadets.
Jeff Rich Watershed: The Tennessee River
My work on this project began on On December 22nd 2008, the failure of a containment pond dyke spilled 5.4 million cubic yards of coal ash belonging to the Tennessee Valley Authority's (TVA) Kingston Fossil Plant into the Emory River and the surrounding landscape. Coal ash is a waste product of burning coal for power production, collected and stored in these massive ponds, much like our solid waste is collected in landfills.
Bill Finger: Transit of Venus
Using the Voyager Space Probes as a metaphor, Transit of Venus is an exploration of the human desire to search beyond one's self. While embracing the quiet solitude of the search, perception of time slows. Days fold into moments, while moments transform and mix with longings. Once beyond the obvious realm, the exploration becomes an act of looking inward while embracing that which is beyond. To explore, is to drift through time.
Laena Wilder: Zanzibar Memoir
My first trip to Zanzibar was in 1993, I had just spent three months traveling overland through Kenya, Uganda and Tanzania and only intended to stay in Zanzibar a few days. Instead I got stuck waiting an additional seven weeks for my visa to India. As I meandered through the labyrinthine streets of Stone Town, it was only a matter of days until the locals sitting in front of their homes began engaging me in conversation: "You have walked by me for several days now, sit down and tell me who you are and why you are here." A sparked mutual curiosity led to daily conversations and deeper connections, soon I began to feel like I belonged. My unexpected ‘holding-tank' time in Zanzibar ended up being more meaningful than I could have imagined.
Jake Mein: Six for Gold
In 1998, I found myself in New Zealand, a world away from coastal Maine where I had been living. Glaciers extending to the road, fjords and mountains and deserts, sandy beaches where I could dig a hole and they would fill with hot water to soak in, thermal activity like Iceland, the Bay of Islands with its green hills, the pancake rocks, the glow worm tunnels, kiwi birds and kakapos, Stewart Island with the surprise of the Aurora Australis, the Otego peninsula with those round boulders, but also with those tiny sapphire blue penguins that are only a foot tall (where did they come from?) and down somewhere near Bluff, the world's 8th largest aluminium smelter where I could take a free tour and walk across a magnetic field that not only made all the nails I was holding in my hands stand up on their metal points, but which probably changed my body forever...
Michal Greenboim: Orchard Trail
In April, I was reviewing portfolios at PhotoLucida in Portland, Oregon, and there at my table was an unassuming young woman who I initially thought was French and who had 2 things with her: a mock-up of a book as well as a huge stack of prints, all diptychs. I found myself flipping through the pages of the book and then pausing to look through a substantial number of prints and then back to the book and then back to the prints and back again to the book. The photographer was looking at me like I was a bit crazy and I actually don't think I've ever viewed anything in quite that way, but there was so much to see and there were also moments in the book that I didn't want to miss and pairings in the prints that were different than the book. The 20-minute review went by much too quickly and I found myself wondering how it all ended. Well, luckily for me, Michal Greenboim sent me a copy of her book, ''Orchard Trail.''
Priya Kambli: Buttons for Eyes
My artwork is intrinsically tied to my own family's photographic legacy. At age 18, I moved from India to the United States, a couple of years after my parents passed away. Before I emigrated, my sister and I split our photographic inheritance arbitrarily and irreparably in half - one part to remain in India with her and the other to be displaced along with me, here in America. For the past decade, my archive of family photographs has been one of my main source materials in creating bodies of work, which explore the genre of personal narrative.
C.J. Pressma: Evidence
In 1972 I was watching the Fellini film, Roma, and was captivated by splashes of light involving sparks from a street car at night. That scene with its dark nature and surreal quality motivated me to emulate a specific photographic style. It seems strange to me (almost absurd) that such a momentary scene became a motivation for an entire body of work that is interwoven throughout my artistic career. I call these images Evidence and Inhabitants. They are the evidence of places and people I have never been able to fully remember, but manifest themselves in the photographs I make.
Michelle Rogers Pritzl: Not Waving But Drowning
Not Waving But Drowning is a look inside an Evangelical marriage. These images show the truth of a life lived in the confines of oppressive gender roles, cult-like manipulation, and the isolation of Fundamentalism.
David Pace: Sur La Route
Sur La Route (French for "On The Road") is a series of portraits taken outside the house where I live along the narrow dirt path that stretches from Bereba to the small family farms that surround the village. Around sunset the inhabitants return to their homes carrying firewood or items that have been harvested during the day. I make the photographs using the simple landscape as my studio, employing a fill flash to illuminate the farmers against the darkening sky. The fleeting light lasts only about 45 minutes. Because I return to the village every year I am able to give away the images from the previous year. These photographs have become prized possessions and are proudly displayed throughout the village.
Ben Huff: Atomic Island, Adak
I first met Ben Huff in 2011 in China of all places. There was an international photography festival there, through the lush valleys and surreal mountains on a 13-hour train ride (I'll mention briefly that I was standing for this entire ride) straight west from Shanghai, in the small city (3 million people) of Lishui. This place was picturesque and humid and a mix of ancient and brand new (they were still building the hotel we were staying in). The festival unfortunately no longer exists, but I remember walking into the "American Pavilion" (for lack of a better description for the amazing abandoned factory building that housed our photography) and seeing Ben's photographs from his documentary project, ''The Last Road North.'' It was as if I was transported straight out of steamy China to the desolate Dalton Highway and a barren stretch of tundra in Alaska. I spent a lot of my time in that corner of the exhibition hall in Lishui, thinking about distances traveled and about how Ben photographed the land and the people.
Diane Pierce ’The Accidental Photograph’ and ’Thinking About Drawing’
The quick capture of an image and the passage of time over its manipulation is combined in my series "The Accidental Photograph." With the photographic image, a Polaroid print as the foundation, slowly over days, weeks, or months I have a dialog with a variety of casually collected items. The techniques and materials of collage become the possibilities for what I see in the final piece. The images ask to be deciphered by a viewer's own internal logic and are not suggestive of any one particular notion of mine. It seems the nature of collage to be in flux through process and as likely through interpretations over time.
Alnis Stakle: Ilgas
One of my favorite things about jurying an international competition is discovering photographers that I would never encountered otherwise. I've finally finished looking at the last portfolio (#780) in the jurying process for Issue 12, the curators' issue, of Aint-Bad Magazine and was miraculously transported to a place that at first I didn't recognize as being real. It looked like a movie set, the clouds parting to reveal an old building that could be an abandoned factory or an asylum (and when I say clouds parting, it's like that moment at the Sun Gate when the clouds descend into the valleys of Peruvian Andes and the mountaintop city of Machu Picchu is unveiled.
Jess T. Dugan: Every Breath We Drew
Every Breath We Drew explores the power of identity, desire, and connection through portraits of myself and others. Working within the framework of queer experience and from my actively constructed sense of masculinity, my portraits examine the intersection between private, individual identity and the search for intimate connection with others. I photograph people in their homes, often in their bedrooms, using medium and large format cameras to create a deep, sustained engagement, resulting in an intimate and detailed portrait.
Anna Beeke: At Sea
The once romantic notion of travelling the ocean to distant and exotic lands has become an accessible and affordable way to vacation thanks to cruise tourism. About 10 million Americans take to the sea aboard cruise ships every year, and cruising is one of the fastest-growing sectors of the tourism industry worldwide. My ongoing project At Sea is a light-hearted exploration of the leisurely world of cruise culture.
Evie Aarons: Homelife
Being housebound means enduring an ongoing shift between reality and the surreal. The safety of objects; plants, books, television, the internet, wrap around us and we are home. The outside world becomes irrelevant and fades away. Moments that are constructed bear resemblance to ones that are spontaneous and both serve as representations of living. These are the photographs that make up Homelife.
Kathryn Allen Hurni: House of Surprises/Twinsburg
Throughout every stage of photography exists the act of encountering. As a photographer I'm confronted by my vision, or particular desire to photograph a specific subject amongst a crowd. I'm confronted by obfuscation; am I capturing the subject's truth, or mine- does it matter? In many ways, the act of engaging with photography is like stepping in front of a mirror and encountering some version of the self. And I wonder how it is to have a physical reflection of the self with a twin: some person that is within and apart. This ongoing series documents the annual twins festival in Twinsburg, OH; the same fair that Mary Ellen Mark attended while producing her body of work, Twins.
Daniel George: Nobody Wanted
In the American West, vast areas of remote, arid terrain were disregarded by early settlers and described as "the lands nobody wanted." In the Upper Snake River Valley of Eastern Idaho, parts of these sagebrush desert expanses, now overseen by the Federal Bureau of Land Management, are regularly used by local gun-owners for target shooting. My work is an examination of this culture and tradition, which is rooted in the concept of rugged individualism, the myth of the frontier, and a strict championing of the Second Amendment. Through the documentation of landscapes, artifacts, and individuals, I am considering the social, political, and ecological issues that intersect and complicate this once undesirable frontier.
Cody Cobb: West
These photographs were made while roaming the American West in search of true solitude. It's a search that's becoming more of a challenge as civilization spreads, so these dreamlike moments are reminders of how quiet the wilderness can be.
Jacqueline Walters ’Poetics of the Landscape’ and ’Here and Elsewhere’
It might be close to a decade ago that Jacqueline Walters walked into RayKo Photo Center. At the time, she had a small box of prints tucked under her arm (as the years passed I noted that the dimensions of the portfolio box grew and grew). These first prints were images of a misty landscape buried in dense fog, but this wasn't San Francisco, her most recent home. This was a flat land with a creek like glass running through fields of lush grass with animals and rounded trees emerging from the mist. It's not only that the air is diffused and I have to squint my eyes to see better through the vapors. No, no, it's not just that holds me spellbound. It's also not that I can feel how the air cloaks itself around me, around the photographer, around the trees, how it sits on the ground, because despite its visual appearance, it's not heavy.
Rebecca Drolen: Hair Pieces and Transplants
Hair Pieces explores the fickle relationship most have with their body hair. We consider some hair very desirable and grow and groom it with care, while we treat other hair as shameful and cover or remove it. Once hair has become disconnected from our bodies, we treat it with disgust, yet it has an archival, lasting presence that outlives the body and defies death and decay.
Laura Parker: Artist talk and exhibition closing
I first saw Laura Parker's work at Review LA. This was a portfolio review run by the great folks at Center who also organize Review Santa Fe. Review LA, which unfortunately no longer exists, happened concurrently with Photo LA, so it felt the entire city was submerged in photography. It may have been 9 years ago now that I saw Laura's work and yet it still resounds with me. Back then she showed images of horses and water printed through circles or what appeared to be lenses on large sheets of chromogenic paper, unfurling like scrolls with looking-glass glimpses of equine legs and chests appearing on the black paper. Laura had photographs of pot bottoms too (wonderfully textured and rusted and showing a life lived). She also did things with c-prints that I'd never seen done: she made rubbings of different objects.
Cromwell Schubarth
Cromwell Schubarth was one of the first photographers to submit Polaroid images to the show. I had noted each time I saw him that he was wearing a different Polaroid camera around his neck.
Pamela Gentile: Portrait of a Film Festival
Photographer Pamela Gentile first began photographing at local San Francisco music venues, including the Warfield and the Fillmore, and on tour with Chris Isaak. She soon becoming staff photographer and photo editor for the newspaper, SF Weekly. Gentile then focused her camera on her first love, the world of cinema.
Bill Vaccaro: ’Jesus Is On The Mainline’ & ’The Magic Hedge’
As I grew older and began to question my religious teachings, I became more and more fascinated by the idea of Jesus and Christianity as a sociological or anthropological idea rather than a purely religious one based on faith.
Annette LeMay Burke: Fauxliage
Fauxliage documents the prolific disguised cell towers in the American West. I was initially drawn to their peculiar appearance; I then found it disconcerting how technology was clandestinely modifying our environment.
Elisabeth Ajtay
The moon drawings are a byproduct of my process of working on the moon alphabet. The latter I started while waiting for my visa. Originally, I was so preoccupied with validating my existence to this state, that I could not think about art or creating it.
Michael Weitzman: Morph
The toy camera is a simple recording device with an emphasis on fun and imperfection. It allows me to be deeply absorbed in a far away place and time where creating new scenarios for the overlooked and insignificant becomes possible.
Stephen Albair: Hidden Gardens - Secret Views
Stephen's painstakingly created dioramas take me into his world, just far enough, and then I am left to discover what has happened. Each artist has a way to express themselves and to translate their experience.
Peter Wiklund: Mankind and everything after
Peter Wiklund from Sweden started with photography in the mid 80's and has ever since experimented with a lot of techniques and cameras. Nowadays, he mainly uses different plastic and pinhole cameras. These tools add a moment of chance into his photography, something that is very important to him.
Akira Seo: Flowers and Phototaxis
Akira Seo was born in Tokyo, Japan. After working as a director for a satellite broadcasting station for 4 years in Japan, he moved to the U.S.A. in 1997. He graduated with a Masters degree from the Brooks Institute of Photography in 2002. His fascination with art was cultivated from a young age as he grew up in a family of artists.
Daniel Grant: Remembered Landscapes And My Affair with Diana
The soft focus and timeless quality is the perfect tool to reclaim his past and also to document the passing landscape as he traveled to and from his ailing father.
Becoming Photographs by Rania Matar
Becoming is a continuum of Rania Matar's work from the past several years, and it's a feast to view her multiple projects together. Through this collection of portraits, Matar leads us through many stages in the life of a woman. She photographs girls and young women from the US and from Lebanon, her country of origin. Matar notes, "These are not meant to be a comparison, on the contrary, as the lines blur quickly. Regardless of place, background and religion, girls that age everywhere seem united by similar feelings, aspirations and attitudes."
Alex Ramos: Railroads
As a child growing up in Berkeley, California, I was fascinated by the late night passage of the once daily Amtrak Coast Starlight race through town for points North which opened up a list of questions I wanted to explore later in life.
Beverly Conley -  Life in the Ozarks: An Arkansas Portrait
There's this picture of a woman enveloped in steam, standing in a yard where just visible in the mist are big white chickens and a distant paddock and weeds taller than the woman who is earnestly plucking a dead chicken that is strung up by its feet. It's an image I can't stop looking at, its mysteries manifold. It has a force of its own, outside of the rest of the Beverly Conley's powerful documentary project about the Ozarks. There is something about this woman, age indeterminate, place almost mystical, ritual vague until told. Having lived all over the world, I thought perhaps this was the beginning of some ceremony, but no, it is life. Life in the Ozarks. I had the honor of including this image in a recent exhibition of documentary photography at RayKo Photo Center in San Francisco.
Johnna Arnold: Everywhere All Around
My favorite image to this day is one of a pair of intertwined greasy onions rings that look like the cosmos. Transformed. That's what these items are. Truly transformed. I keep peeking into the print viewing area to see what giant surprise may be unfurled from the processor and put up on the wall next...the possibilities are limitless and luckily, so is Johnna Arnold's imagination.
Ashley Valmere Fischer: ’Dark Sun’ and ’Petri Dish’
Growing up in various different locations and cultures, Ashley learned to use the camera as a way to explore undiscovered places or to build her own. Inspired by the outdoors and science fiction novels, she seeks to portray the world around us in a way that questions our belief in the physical truth of things as they appear to be.
Jared Ragland
These gritty black and white photographs of methamphetamine users in rural Alabama stopped us. There is a grace to these images, like the boy in the pool with his shirt pulled over his face and the tilted figure walking in the middle of the double yellow line on the crest of the hill into the sun.
In Memoriam: Steve Harper
Legendary night photographer and Educator, Steve Harper passed away this summer in Colorado, at age 85. Steve was a pioneer in the study of Night Photography and the first to teach college-level courses (Night Light I and II) in the genre. He painstakingly researched and documented various films, developing protocols, lighting techniques, etc.,
Vanessa Marsh: Falling
Tonight I stood under a shower of hundreds of thousands of red paper hearts that flew up into the sky like an unpredictable swarm of birds and then they fell to the rain slicked streets of the Place de la Republique in Paris. It's the one year anniversary of the Paris shootings today and it is also that time of year when Paris Photo and Fotofever happen simultaneously. Somehow, with the climate feeling very heavy from the recent presidential election in the United States and then this day of remembering last year's tragedy, it doesn't seem like the moment to be thinking about art. But yet, really now more than ever, it is the time for artists to be creating and dreaming and striving and making new realities and unleashing new visions.
Marcus Haydock: Insurrection
Sometimes there are pictures that stay in your mind's eye. Long after you've experienced them. There is one by Marcus Haydock, an image of a girl lying on the lip of an empty pool at night. It is like a scene from my adolescence. It is also like Ralph Gibson meets Daido Moriyama. It's sexy and dark and has an edge. A very sharp edge. All of Marcus' work from his book, "Insurrection" has this charge. I was fortunate enough to meet the photographer at Fotofest this spring. He had both this riveting black and white work from Insurrection that made my heart beat faster, the pauses, the pacing, it was like a story from a dream, sometimes a nightmare, surreal and compelling. Stark. Really stark. I liked the rhythm of it as I flipped through the pages, pausing to witness scenes like the girl with her legs dangling in the night into that empty pool, a vast blackness beyond her reclining body as if she and I are really the last people here. Another of a tangle of barbed wire followed by a jumble of bedding preceded by a naked girl's back with a knot of long hair against her white skin. It's his use of flash and his confrontation of the subject matter that stops me cold. A caged surveillance camera, a ticker tape parade frozen (again in the black night), a shopping cart full to the brim with bottles and debris, spray painted cars, spray painted walls... is this England or is this the apocalypse?
David J. Carol: No Plan B, Photographs from 1993-2016
There's something about that image of the schooner, fully rigged, sailing across the sea behind a shingled house. I've looked at this picture a hundred times and still I like to believe it's real, a rectangle cut into a wall that reveals a view into another world. Is this the Voyage of the Dawn Treader or is this a David Carol photograph? Option B. There's a rhythm to David's pictures. I flip through them: the frozen fish, real or not real? The white head of a ghost horse peering from the perfect corner of the fence with a black storm sky swirling behind him. It's a dream, no wait, it's a David Carol photograph. The speed is picking up. I can sense it, the more I look. The hands emerging or submerging in an otherwise perfectly still lake; it feels like northern Maine at the end of the summer.
Takeshi Moro: Wannsee in Berliner Blau
Yesterday I met with Takeshi Moro. It was a different day and it wasn't just the rain in the midst of the drought in California. I've looked at Takeshi's work before: large color photographs of Finnish saunas, actually three unfolding stories of Finnish saunas with a black and white chapter in the middle. That's something else though. This time, the photographer opened a giant box and unveiled something I had never seen before: cyanotypes on large canvases. Now, I know what you're thinking: canvas? Blasphemy. (That's usually how I react to canvas anyway). But these prints were gorgeous continuous tone cyanotypes of the richest blue, with all the mid-tones on soft, not quite limp, large canvases with slightly frayed edges like jeans that have been washed too much. As he picked them up and turned them and laid them down again, they just seemed perfect. Canvas? How could it be? Well, there was a lot of technical explaining to do including a lot of geeking out over a process invented in 1842 and the discussion of a new cyanotype process recently developed by Mike Ware... and then not learning how Takeshi had changed it (never give away your secrets), but knowing that he had to amend the formula and then seeing the results of his experimentation. As a historical process nerd, I was intrigued and impressed to say the least.
Misha Petrov: Rocket Man
Maybe it's this: the silver chill of the cold, bleak winters of my childhood that lasted for months and months on end. Maybe that's what made me stop and stare at this particular image of a small valley, an indentation in the land, covered with the thinnest layer of snow, barely covering the ground underneath.
Lissa Rivera: Beautiful Boy
Beautiful Boy is an ongoing project that began as a confession between two friends. On the subway one evening, my friend shared that he had worn women's clothing almost exclusively in college, but after graduation struggled to navigate a world that seemed both newly accepting and yet inherently reviling of male displays of femininity.
Jonas Kulikauskas: Yosemite People
I was inspired to explore this "city" and bring my street photography to the wilderness. I shot 150 rolls of black and white film during nineteen visits to the Park from January 2014 through May 2016. I defined Yosemite People as anyone within the formal boundaries of the Park and limited myself to this area without special access or privileges.
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